I’m running an informal symposium on expertise as part of the research seminar programme at the Birmingham Centre for Media and Cultural Research, taking place on Wednesday 30 November 2016. Submissions are welcome from researchers and PhD students in all areas of media, cultural and arts research.
I feel this is particularly timely given the anti-expert rhetoric during the Brexit campaign. Financial experts warning about the potential consequences of Brexit were ignored by more than half of British EU referendum voters, and the state of the country’s economy since suggests that the predictions of the experts are pretty much on track. The anti-intellectualism of the Brexit campaign has raised real concerns by some commentators as to the voting public’s willingness to believe propaganda and lies in lieu of expert comment. This has been brilliantly unpacked by Kath Viner in the context of social media and the ‘filter bubble’, distorting our access to information.
In light of these debates, just how important is expertise?
Call for papers
In cultural research, any mentions of experts or expertise usually refer to art critics (Bourdieu, 1996), art collectors (Braden, 2015), cultural intermediaries (Prince, 2010) or consultants (Prince, 2014). In media and cultural research as a whole, including the works cited, the idea of the expert and expertise itself is not explored in great depth. Yet, being known as an expert is crucial to ensure regular work in a precarious and competitive cultural labour market. What does expertise mean to cultural and media workers? In what ways, and where, do cultural and media workers perform expertise? How can we, as cultural researchers, explore and conceptualise expertise?
The Birmingham Centre for Media and Cultural Research (BCMCR) hosts this informal symposium aimed at putting expertise firmly on the research agenda. We encourage submissions from all areas of media and cultural research, and invite participants to discuss how the idea of expertise pertains to their research.
Topics may include (but are not limited to):
- Expertise in cultural policy making
- Questions of expertise, professionalism and amateurism
- Expertise and new media
- Expertise and gender
- Expertise and race
- Expertise and class
- Expertise in cultural institutions
- The performance of expertise
- Interrogating technological expertise
- Expertise and celebrity
- Experts in the media
- Art and aesthetic expertise
- Theorising expertise
- Experts in media history
We are looking for informal thinking/discussion pieces no more than 15 minutes long, and visual aids are not essential. Please send a short abstract of no more than 200 words and a short biography to email@example.com by Friday 30 September 2016.